A pesquisa visa estabelecer que os campos definidos como ARTE, DESIGN e NARRATIVA têm limites muito mais fluidos, mutáveis e permeáveis do que, de fato, reconhecemos atualmente, e pretende fazer isso problematizando suas fronteiras. Parte-se da hipótese de que a categorização desses campos em áreas estanques, aparentemente estabelecidas e claras, é rasa, artificial, arbitrária, não dá conta de uma visão diagramática da produção contemporânea nos três campos referidos, em suas fronteiras e intersecções, nem alcança a profundidade de relações de origem e de influência cruzada entre os campos. Através de análise e revisão teórica, partindo da própria estrutura das narrativas formativas e das narrativas críticas nas três áreas e em áreas de fronteira, decorrem potenciais revisões internas dos campos e de suas intersecções, uma visão atualizada da complexidade das relações entre os três campos e novas possibilidades formativas, além de uma visão crítica dos discursos acessórios e de proposições metodológicas. Do ponto de vista metodológico, de fato, a investigação apoia-se em pesquisa bibliográfica, discussão de dispositivos de exemplo e análise teórica baseada em teorias-chave dos campos descritos, ARTE, DESIGN, NARRATIVA e suas hibridizações potenciais. Também através da apresentação de dispositivos próprios que expandem as questões centrais da investigação em outros suportes e interfaces, a discussão, que tem origem prática, poética e empírica, e toma uma forma teórica, linear, analítica, mas tem também conclusões, ou possibilidades, novamente práticas, poéticas e empíricas. O intuito é a tradução de um pensamento cuja origem é prática e poética, mas também bibliográfica, em uma análise teórica, transdisciplinar, com um possível desdobramento metodológico, a proposição de uma metodologia abdutiva. Apresentada por meio de dois discursos, teórico/analítico e criativo/artístico, a pesquisa trata das possibilidades formativas em campos próximos, ARTE, DESIGN e NARRATIVA, suas potenciais influências, cruzamentos, e de como é crítica para a atividade formativa e teórica nesses campos a diferença entre discursos prescritivos/propositivos e discursos descritivos/analíticos. Do ponto de vista teórico, a discussão baseia-se nos conceitos de Praxis e Poiesis de Agamben, na noção de estética de Pareyson e de arte contemporânea de C. Cauquelin, na semiótica Peirciana, partindo da leitura de L. Santaella, e de conceitos específicos de Danto, Pross e Belting sobre Arte; Cardoso, Dune, Raby e Coles sobre Design; e Caillois e Campos aplicados sobre Narrativa. / The research aims to establish that the fields defined as ART, DESIGN and NARRATIVE have limits that are much more fluid, changeable and permeable than we actually recognize today, and intends to do so by problematizing their borders. It is based on the hypothesis that the categorization of these fields into watertight areas, apparently established and clear, is shallow, artificial, arbitrary, does not account for a diagrammatic view of contemporary production in the three fields mentioned, in their borders and intersections, nor does it reach the depth of relations of origin and cross-influence between fields. Through theoretical analysis and revision, starting from the very structure of the formative narratives and the critical narratives in the three areas and in frontier areas, not only potential internal revisions of the fields and their intersections take place, but an updated view of the complexity of the relations between the three fields and new formative possibilities, as well as a critical view of the accessory discourses and methodological propositions. From a methodological point of view, the research is based on bibliographic research, discussion of example devices and theoretical analysis based on the key theories of the fields described, ART, DESIGN, NARRATIVE and their potential hybridizations. Also, through the presentation of original devices/artwork that expand the central questions of research in other supports and interfaces, the discussion, which has practical, poetic and empirical origins, and takes a theoretical, linear, analytical form, but also has conclusions, or possibilities, again practical, poetic and empirical. The intention is the translation of a thought whose origin is practical and poetic, but also bibliographical, in a theoretical and artistic transdisciplinary analysis, with a possible methodological unfolding, the proposition of an abductive methodology. Presented through two discourses, theoretical/analytical and creative/artistic, the research deals with the formative possibilities in nearby fields, ART, DESIGN and NARRATIVE, their potential influences, crossings, and how critical it is for the formative and theoretical activity in these fields the difference between prescriptive/propositional discourses and descriptive/analytical discourses. From a theoretical point of view, the discussion is based on the concepts of Agamben\'s Praxis and Poiesis, on the notion of Pareyson aesthetics and contemporary art by C. Cauquelin, on the Peircean Semiotics, based on the reading of L. Santaella, and specific concepts from Danto, Pross and Belting on ART; Cardoso, Dune, Raby and Coles on DESIGN; and Caillois and Campos applied on NARRATIVE.

A pesquisa visa estabelecer que os campos definidos como ARTE, DESIGN e NARRATIVA têm limites muito mais fluidos, mutáveis e permeáveis do que, de fato, reconhecemos atualmente, e pretende fazer isso problematizando suas fronteiras. Parte-se da hipótese de que a categorização desses campos em áreas estanques, aparentemente estabelecidas e claras, é rasa, artificial, arbitrária, não dá conta de uma visão diagramática da produção contemporânea nos três campos referidos, em suas fronteiras e intersecções, nem alcança a profundidade de relações de origem e de influência cruzada entre os campos. Através de análise e revisão teórica, partindo da própria estrutura das narrativas formativas e das narrativas críticas nas três áreas e em áreas de fronteira, decorrem potenciais revisões internas dos campos e de suas intersecções, uma visão atualizada da complexidade das relações entre os três campos e novas possibilidades formativas, além de uma visão crítica dos discursos acessórios e de proposições metodológicas. Do ponto de vista metodológico, de fato, a investigação apoia-se em pesquisa bibliográfica, discussão de dispositivos de exemplo e análise teórica baseada em teorias-chave dos campos descritos, ARTE, DESIGN, NARRATIVA e suas hibridizações potenciais. Também através da apresentação de dispositivos próprios que expandem as questões centrais da investigação em outros suportes e interfaces, a discussão, que tem origem prática, poética e empírica, e toma uma forma teórica, linear, analítica, mas tem também conclusões, ou possibilidades, novamente práticas, poéticas e empíricas. O intuito é a tradução de um pensamento cuja origem é prática e poética, mas também bibliográfica, em uma análise teórica, transdisciplinar, com um possível desdobramento metodológico, a proposição de uma metodologia abdutiva. Apresentada por meio de dois discursos, teórico/analítico e criativo/artístico, a pesquisa trata das possibilidades formativas em campos próximos, ARTE, DESIGN e NARRATIVA, suas potenciais influências, cruzamentos, e de como é crítica para a atividade formativa e teórica nesses campos a diferença entre discursos prescritivos/propositivos e discursos descritivos/analíticos. Do ponto de vista teórico, a discussão baseia-se nos conceitos de Praxis e Poiesis de Agamben, na noção de estética de Pareyson e de arte contemporânea de C. Cauquelin, na semiótica Peirciana, partindo da leitura de L. Santaella, e de conceitos específicos de Danto, Pross e Belting sobre Arte; Cardoso, Dune, Raby e Coles sobre Design; e Caillois e Campos aplicados sobre Narrativa. / The research aims to establish that the fields defined as ART, DESIGN and NARRATIVE have limits that are much more fluid, changeable and permeable than we actually recognize today, and intends to do so by problematizing their borders. It is based on the hypothesis that the categorization of these fields into watertight areas, apparently established and clear, is shallow, artificial, arbitrary, does not account for a diagrammatic view of contemporary production in the three fields mentioned, in their borders and intersections, nor does it reach the depth of relations of origin and cross-influence between fields. Through theoretical analysis and revision, starting from the very structure of the formative narratives and the critical narratives in the three areas and in frontier areas, not only potential internal revisions of the fields and their intersections take place, but an updated view of the complexity of the relations between the three fields and new formative possibilities, as well as a critical view of the accessory discourses and methodological propositions. From a methodological point of view, the research is based on bibliographic research, discussion of example devices and theoretical analysis based on the key theories of the fields described, ART, DESIGN, NARRATIVE and their potential hybridizations. Also, through the presentation of original devices/artwork that expand the central questions of research in other supports and interfaces, the discussion, which has practical, poetic and empirical origins, and takes a theoretical, linear, analytical form, but also has conclusions, or possibilities, again practical, poetic and empirical. The intention is the translation of a thought whose origin is practical and poetic, but also bibliographical, in a theoretical and artistic transdisciplinary analysis, with a possible methodological unfolding, the proposition of an abductive methodology. Presented through two discourses, theoretical/analytical and creative/artistic, the research deals with the formative possibilities in nearby fields, ART, DESIGN and NARRATIVE, their potential influences, crossings, and how critical it is for the formative and theoretical activity in these fields the difference between prescriptive/propositional discourses and descriptive/analytical discourses. From a theoretical point of view, the discussion is based on the concepts of Agamben\'s Praxis and Poiesis, on the notion of Pareyson aesthetics and contemporary art by C. Cauquelin, on the Peircean Semiotics, based on the reading of L. Santaella, and specific concepts from Danto, Pross and Belting on ART; Cardoso, Dune, Raby and Coles on DESIGN; and Caillois and Campos applied on NARRATIVE.

Personal space is a human’s imaginary system of precaution and an important concept for exploring territoriality, but between humans and technology because machinic agencies transfer, relocate, enact and reenact territorially. Literatures of territoriality, violence and affect are uniquely brought together, with chatbots as the research object to argue that their ongoing development as artificial agents, and the ambiguity of violence they can engender, have broader ramifications for a socio-technical research programme. These literatures help to understand the interrelation of virtual and actual spatiality relevant to research involving chatrooms and internet forums, automated systems and processes, as well as human and machine agencies; because all of these spaces, methods and agencies involve the personal sphere. The thesis is an ethical tale of cruel techno-science that is performed through conceptualisations from the creative arts, constituting a PhD by practice. This thesis chronicles four chatbots, taking into account interventions made in fine art, design, fiction and film that are omitted from a history of agent technology. The thesis re-interprets Edward Hall’s work on proxemics, personal space and territoriality, using techniques of the bricoleur and rudiments (an undeveloped and speculative method of practice), to understand chatbot techniques such as the pick-up, their entrapment logics, their repetitions of hateful speech, their nonsense talk (including how they disorientate spatial metaphors), as well as how developers switch on and off their learning functionality. Semi-structured interviews and online forum postings with chatbot developers were used to expand and reflect on the rudimentary method. To urge that this project is timely is itself a statement of anxiety. Chatbots can manipulate, exceed, and exhaust a human understanding of both space and time. Violence between humans and machines in online and offline spaces is explored as an interweaving of agency and spatiality. A series of rudiments were used to probe empirical experiments such as the Prisoner’s Dilemma (Tucker, 1950). The spatial metaphors of confinement as a parable of entrapment, are revealed within that logic and that of chatbots. The ‘Obedience to Authority’ experiments (Milgram, 1961) were used to reflect on the roles played by machines which are then reflected into a discussion of chatbots and the experiments done in and around them. The agency of the experimenter was revealed in the machine as evidenced with chatbots which has ethical ramifications. The argument of personal space is widened to include the ways machinic territoriality and its violence impacts on our ways of living together both in the private spheres of our computers and homes, as well as in state-regulated conditions (Directive-3, 2003). The misanthropic aspects of chatbot design are reflected through the methodology of designing out of fear. I argue that personal spaces create misanthropic design imperatives, methods and ways of living. Furthermore, the technological agencies of personal spaces have a confining impact on the transient spaces of the non-places in a wider discussion of the lift, chatroom and car. The violent origins of the chatbot are linked to various imaginings of impending disaster through visualisations, supported by case studies in fiction to look at the resonance of how anxiety transformed into terror when considering the affects of violence.